Back to my symphonic journey the last couple of nights.
1841 (concluding)
Schumann: Symphony No 1 'Spring'
Schumann: Symphony No 4
Spohr: Symphony No 7 in C major 'The Earthly & Divine in Human Life'
Verhulst: Symphony in E minor
1842 (begun)
Berlioz: Symphonie Funebre et Triomphale
Berwald: Symphony No 2 in D major 'Sinfonie capricieuse'
Gade: Symphony No 1 in C minor
The Schumann symphonies of course need no introduction from me, but hearing them in symphonic context is very illuminating. Listening to the 4th straight after the 1st also shows the closeness of the thematic material in both works. I'm rather fond of No1 but always struggle somewhat with No 4 although I admire the concept of linking the four movements, I'm not sure what it is but No 4 never really stays with me after hearing it.
The Spohr is a novel work in 3 movements, scored for a 'double' orchestra one of which is really a chamber orchestra of 11 players, the music is programmatic and the contrasts between the chamber and full orchestra are a very novel effect for the time, the invention though not always of Spohr's best is made more interesting by the orchestral and harmonic touches.
It is a pity the E minor was Verhulst's only symphony, it is quite attractive with some occasionally interesting harmonic touches in the 1st movement. The Berlioz I find rather quirky in his only inimitable way, the 1842 version I listened too included the final choral apotheosis. Not a true symphony of course and perhaps a rather required taste but still interesting to hear in context.
The Berwald like all 4 of his completed symphonies is an absolutely fascinating work. There is instantly something about the symphony that is completely individualistic and oddly Scandinavian I can never quite put my finger on why it sounds Scandinavian except that there is a certain distinct openness about the harmony. The central slow movement I find very effective. Finally another Scandinavian, Neils Gade this 1st symphony of his which he sent to Mendelssohn and which resulted in a friendship and Gade becoming Mendelssohn's deputy until the latter's untimely death, has again a certain freshness and touches of individuality inspite of the rather obvious Mendelssohnian features. I was struck by the rather beautiful slow movement for me the best movement and I can understand why Mendelssohn was impressed with the symphony.
1841 (concluding)
Schumann: Symphony No 1 'Spring'
Schumann: Symphony No 4
Spohr: Symphony No 7 in C major 'The Earthly & Divine in Human Life'
Verhulst: Symphony in E minor
1842 (begun)
Berlioz: Symphonie Funebre et Triomphale
Berwald: Symphony No 2 in D major 'Sinfonie capricieuse'
Gade: Symphony No 1 in C minor
The Schumann symphonies of course need no introduction from me, but hearing them in symphonic context is very illuminating. Listening to the 4th straight after the 1st also shows the closeness of the thematic material in both works. I'm rather fond of No1 but always struggle somewhat with No 4 although I admire the concept of linking the four movements, I'm not sure what it is but No 4 never really stays with me after hearing it.
The Spohr is a novel work in 3 movements, scored for a 'double' orchestra one of which is really a chamber orchestra of 11 players, the music is programmatic and the contrasts between the chamber and full orchestra are a very novel effect for the time, the invention though not always of Spohr's best is made more interesting by the orchestral and harmonic touches.
It is a pity the E minor was Verhulst's only symphony, it is quite attractive with some occasionally interesting harmonic touches in the 1st movement. The Berlioz I find rather quirky in his only inimitable way, the 1842 version I listened too included the final choral apotheosis. Not a true symphony of course and perhaps a rather required taste but still interesting to hear in context.
The Berwald like all 4 of his completed symphonies is an absolutely fascinating work. There is instantly something about the symphony that is completely individualistic and oddly Scandinavian I can never quite put my finger on why it sounds Scandinavian except that there is a certain distinct openness about the harmony. The central slow movement I find very effective. Finally another Scandinavian, Neils Gade this 1st symphony of his which he sent to Mendelssohn and which resulted in a friendship and Gade becoming Mendelssohn's deputy until the latter's untimely death, has again a certain freshness and touches of individuality inspite of the rather obvious Mendelssohnian features. I was struck by the rather beautiful slow movement for me the best movement and I can understand why Mendelssohn was impressed with the symphony.
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